I was not prepared to discover how closely the recent Everybody's Fine tracked its source, Stanno tutti bene (1990), starring Marcello Mastroianni. Being the source material, and being Italian, the expressionist and surrealist tendencies (which are highlighted by the poster art seen here) feel more natural. Italy is naturally a place of abundance, where images tumbling upon each other simply reflects the landscape. The America DeNiro's character traveled through was spare, ascetic, almost barren. Both characters have absurd dreams, but Mastroianni's are more at home in the Italian landscape.
The downside of that is that we never feel that Mastroianni achieves peace and equilibrium. His children's lies are a hurt from which he does not recover. DeNiro is hurt as well, but he seems to understand how and why it happened, and that he shares responsibility. Both films have their virtues, and if you like one of them, the other will probably interest you. Their respective virtues and shortcomings balance out--they are roughly equal accomplishments.
The Italian film does have music by Morricone--an unfair advantage, that.